Upload
others
View
1
Download
0
Embed Size (px)
Citation preview
REFLECTED IN THE MIRROR THERE WAS A SHADOW
ROY LICHTENSTEINANDY WARHOL
November 1 – December 23, 2011
LEO CASTELLI
Roy Lichtenstein, Paintings: Mirror, 1984Oil and Magna on canvas, 70 x 86 inches
4
To confront a person with his shadow is to show him his own light. Once
one has experienced a few times what it is like to stand judgingly between
the opposites, one begins to understand what is meant by the self. Anyone
who perceives his shadow and his light simultaneously sees himself from two
sides and thus gets in the middle.
(Carl Jung, Good and Evil in Analytical Psychology, 1959)
Roy Lichtenstein’s new paintings based on mirrors show that he has taken on
another broad challenge – that of abstract, invented forms. The Mirror paintings
are close to being total abstractions. Nothing recognizable is “reflected” in
them, but their surfaces are broken into curving shards of “light,” or angular
refractive complexities. They are, in effect elaborately composed pictures of
reflections of air.
(…)
The specific source for the “imagery” of the mirrors is the schematic denotation
of reflections and highlights derived from cheap furniture catalogues or small
glass company ads. However the distance of Lichtenstein's illusory Mirrors
from their sources is so great that the interest is frankly elsewhere. Any tacky
connotations (formerly to be cherished) are now dissipated in the paintings’
final fastidious grandeur.
(Elizabeth Baker, “The Glass of Fashion and the Mold of Form,” ArtNews, April 1971)
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas 76 x 52 inches
7
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
This way to dusty death. Out, Out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing
(William Shakespeare, Macbeth, circa 1603-1607)
She returned to the nursery, and found Nana with something in her mouth,
which proved to be the boy’s shadow. As he leapt at the window Nana had
closed it quickly, too late to catch him, but his shadow had not had time to get
out, slam went the window and snapped it off.
You may be sure that Mrs. Darling examined the shadow carefully, but it was
quite the ordinary kind.
Nana had no doubt of what was the best thing to do with the shadow. She
hung it out the window meaning “He is sure to come back for it; let us put it
where can get it easily without disturbing the children.”
But Unfortunately Mrs. Darling could not leave it hanging out the window;
it looked so like the washing and lowered the whole tone of the house.
8
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas, 14 x 11 inches
She thought of showing it to Mr. Darling, but he was tottering up winter great-
coats for John and Michael, with a wet towel around his head to keep his brain
clear, and it seemed a shame to trouble him; beside, she new exactly what he
would say, “It all comes of having a dog for a nurse.”
She decided to roll the shadow up and put it away carefully in a drawer, until
a fitting opportunity came to tell her husband.
(J.M. Barrie, Peter Pan, 1904)
It is amazing how much you can get out of paintings just by looking at them.
These paintings hover as the shadow of life’s edge. These paintings are Andy
Warhol’s touch, his distance; whereas the subject of many of Andy’s paintings
is the record of events of life, these are a record of the act of painting. They
are a brilliant emphatic view of everything and nothing.
(Julian Schnabel, Andy Warhol Shadow Paintings, Gagosian Gallery, November 1989)
Shadow is not the absence of light, merely the obstruction of the luminous
rays by an opaque body. Shadow is of the nature of darkness. Light is the
nature of a luminous body; one conceals and the other reveals. They are
always associated and inseparable from all objects. But shadow is a more
powerful agent than light, for it can impede and entirely deprive bodies of their
light, while light can never entirely expel shadow from a body, that is from an
opaque body.
(Leonardo da Vinci, The Notebooks of Leonardo da Vinci, 1651)
11
Roy Lichtenstein, Mirror Six Panels #2, 1970Oil and Magna on canvas, 96 x 108 inches
I’ll tell you all my ideas about Looking-glass House. First, there is a room you
can see through the glass – that’s just the same as our drawing room, only
the things go the other way. I can see all of it when I get upon a chair – all but
the bit behind the fireplace. Oh! I do so wish they have a fire in the winter: you
never can tell, you know, unless our fire smokes, and then smoke comes up in
that room too – but that may be only pretence, just to make it look as if they
had a fire. Well, then, the books are something like ours, only the words go the
wrong way: I know that, because I have held up one of our books to the glass
and then they hold up one in the other room.
(…)
In another moment, Alice was through the glass, and had jumped lightly into
the Looking-glass room. The very first thing she did was to look whether there
was a fire in the fireplace, and she was quite pleased to find that there was a
real one, blazing away as brightly as the one she had left behind. “So, I shall
be as warm here as I was in the real room”, thought Alice: “warmer, because
there will be no one here to scold me away from the fire. Oh, what fun it will
be, when they see me through the glass in here, and can’t get at me!”
(Lewis Carroll, Through the Looking-Glass and what Alice Found There, 1871)
People are always calling me a mirror, and if a mirror looks into a mirror, what
is there to see?
(Andy Warhol, The Andy Warhol Diaries, 1989)
12
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas, 78 x 138 inches
A Greek myth recounts that the first drawing came to us when a woman
traced the shadow of her lover before his departure for war.
(Kirk Varnedoe, Matisse Picasso, exhibition catalogue, The Museum of Modern Art, 2003)
There is almost nothing on them. Yet, they seem to be pictures of something
and as full of imagery as any of Andy’s other paintings. These paintings embody
the art historical landscape of Post-War American painting as well as any
other landscape I can think of; the ring around Saturn, fog lifting off of a lake
near Fiji, the edge of the world or any other psychological one for that matter.
(Julian Schnabel, Andy Warhol Shadow Paintings, Gagosian Gallery, November 1989)
How does a mirror, the reproduction of a mirror on canvas, reflecting nothing
you can name, become the subject of a series of paintings? It is in the sequence
of painting, window, mirror, frame that we can see a capsule account of
Modernism’s concerns and premises. The window frames the scene and the
mirror stands for this century’s chosen subject matter: human concerns held
up close to fell the frame.
(Henry Geldzahler, “Locating the Mirror in Modernism. Roy Lichtenstein’s Mirror Paintings”, Roy
Lichtenstein. The Mirror Paintings, Mary Boone Gallery, 1989)
“Why do you weep?” the goddesses asked
“I weep for Narcissus,” the lake replied
“Ah, it is no surprise that you weep for Narcissus,” they said, “for though we
always pursued him in the forest, you alone could contemplate his beauty
14
Roy Lichtenstein, Mirror Three Panels #1, 1971Oil and Magna on canvas, 96 x 54 inches
close at hand.”
“But… was Narcissus beautiful?” the lake asked?
“Who better than you to know that?” the goddesses said in wonder. “After all,
it was by your banks that he knelt each day to contemplate himself!”
The lake was silent for some time. Finally it said,
“I weep for Narcissus, but I never noticed that Narcissus was beautiful. I weep
because each time he knelt beside my banks, I could see, in the depths of his
eyes, my own beauty.”
(André Gide, The Treatise of Narcissus, 1891)
He knew that even the memory of the piano falsified still further the perspective
in which he saw the elements of the music that the field open to the musician
is not a miserable scale of seven notes, but an immeasurable keyboard still
almost entirely unknown on which here and there only, separated by shadows
thick and unexplored, a few of the millions of keys of tenderness, of passion,
of courage, of serenity which compose it, each as different from the others
as one universe from another universe, have seen found by a few great artists
who do not the service, by awakening in us something corresponding to the
theme that they have discovered, of showing us what richness, what variety, is
hidden unbeknownst to us within that great unpenetrated and disheartening
darkness of our soul which we take for emptiness and nothingness.
(Marcel Proust, In Search of Lost Time. Swann’s Way, 1913)
17
Next, in the course of their review of the chamber, the searchers came to the
cheval-glass, into whose depths they looked with an involuntary horror. But
it was so turned as to show them nothing but the rosy glow playing on the
roof, the fire sparkling in a hundred repetitions along the glazed front of the
presses, and their own pale and fearful countenances stooping to look in.
“This glass has seen some strange things, sir,” whispered Poole.
“And surely none stranger than itself,” echoed the lawyer in the same tones.
“For what did Jekyll”—he caught himself up at the word with a start, and then
conquering the weakness, “what could Jekyll want with it?” he said.
(Robert Louis Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde, 1886)
Roy Lichtenstein’s latest show at Castelli is, I think, his major achievement to
date, and one of the best shows of the season besides. In his newest work
this artist is, like Jane Freilicher in her landscapes, working the poetic vein;
unlike Freilicher, Lichtenstein is observing not nature itself but the nature of
perceptual painting. Fittingly enough, the show is titled “Mirrors”, in order to
make “real” these works that are about perception (or, about being about).
(Garrit Henry, Art International, May 1971)
The shadow is self-generated by light and matter, a parthenogenesis of
form, the utter opposite of man made even of ready-made. Who authorizes
the shadow? Like obsolescence, the shadow is also an index of temporality
and passing time. Since the shadow has no material substance of its own,
Roy Lichtenstein, Mirror #1, 1969Oil and Magna on canvas, 24 x 18 inches
20
Page 18: Andy Warhol, Diamond Dust Shadow, 1979Acrylic, silkscreen ink, and diamond dust on canvas, 76 x 50 inches
Page 19: Andy Warhol, Diamond Dust Shadow, 1979Acrylic, silkscreen ink, and diamond dust on canvas, 78 1/8 x 50 1/8 inches
Roy Lichtenstein, Mirror #1, 1971Oil and Magna on canvas, 72 x 36 inches
it will disappear when its light source fades or when its projecting object is
shifted. Thus shadows are not just metaphysical readymade par excellence,
they are also the sublime antidote to an aesthetic of the readymade itself, just
as Duchamp himself would have wanted it. As he suggested, the readymade
should disappear once it had been established as a new aesthetic category
and as a convention of artistic production. Thus Warhol’s shadows also
execute that aspect of the Duchampian legacy.
(Benjamin H.D. Buchaloh, “Anniversary Notes for Andy Warhol,” Andy Warhol Shadows and
Other Signs of Life, Galerie Chantal Crousel, 2008)
In the depths of the mirror the evening landscape moved by, the mirror and
the reflected figures like motion pictures superimposed one on the other. The
figures and the background were unrelated, and yet the figures, transparent
and intangible, and the background, dim in the gathering darkness, melted
into a sort of symbolic world not of this world.
(Yasunari Kawabata, Snow Country, 1947)
We are surrounded by a reality which is not defined or corporeal. Inside of
us things appear like dots of light in backgrounds of fog and shadow. Our
concrete reality has a ghostly abstract quality.
(Michelangelo Antonioni, Screenplays of Michelangelo Antonioni, 1963)
Andy Warhol, Shadow, 1980Acrylic and silkscreen ink on canvas, 14 x 11 inches
22
Through in this fashion
Have been exiled flesh and blood
My shadow-image
In the mirror at your side
Shall never depart where you dwell.
(Shikibu Murasaki, The Tale of Genji, early 11th century)
Socrates: And now, I said, let me show in a figure how far our nature is
enlightened or unenlightened: –Behold! human beings living in a underground
cave, which has a mouth open towards the light and reaching all along the
cave; here they have been from their childhood, and have their legs and necks
chained so that they cannot move, and can only see before them, being
prevented by the chains from turning round their heads. Above and behind
them a fire is blazing at a distance, and between the fire and the prisoners
there is a raised way; and you will see, if you look, a low wall built along the
way, like the screen which marionette players have in front of them, over which
they show the puppets.
Glaucon: I see.
Socrates: And do you see, I said, men passing along the wall carrying all
sorts of vessels, and statues and figures of animals made of wood and stone
and various materials, which appear over the wall? Some of them are talking,
others silent.
Glaucon: You have shown me a strange image, and they are strange prisoners.
25
Socrates: Like ourselves, I replied; and they see only their own shadows, or
the shadows of one another, which the fire throws on the opposite wall of
the cave?
Glaucon: True, he said; how could they see anything but the shadows if they
were never allowed to move their heads?
Socrates: And of the objects which are being carried in like manner they
would only see the shadows?
Glaucon: Yes, he said.
Socrates: And if they were able to converse with one another, would they not
suppose that they were naming what was actually before them?
Glaucon: Very true.
Socrates: And suppose further that the prison had an echo which came from
the other side, would they not be sure to fancy when one of the passers-by
spoke that the voice which they heard came from the passing shadow?
Glaucon: No question, he replied.
Socrates: To them, I said, the truth would be literally nothing but the shadows
of the images.
Glaucon: That is certain.
Socrates: And now look again, and see what will naturally follow if the prisoners
are released and disabused of their error. At first, when any of them is liberated
and compelled suddenly to stand up and turn his neck round and walk and
look towards the light, he will suffer sharp pains; the glare will distress him,
and he will be unable to see the realities of which in his former state he had
Roy Lichtenstein, Mirror #2, 1970Oil and Magna on canvas, 24 x 18 inches
26
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas, DIMENSIONS
seen the shadows; and then conceive some one saying to him, that what he
saw before was an illusion, but that now, when he is approaching nearer to
being and his eye is turned towards more real existence, he has a clearer
vision, -what will be his reply? And you may further imagine that his instructor
is pointing to the objects as they pass and requiring him to name them, -will he
not be perplexed? Will he not fancy that the shadows which he formerly saw
are truer than the objects which are now shown to him?
Glaucon: Far truer.
Socrates: And if he is compelled to look straight at the light, will he not have a
pain in his eyes which will make him turn away to take and take in the objects
of vision which he can see, and which he will conceive to be in reality clearer
than the things which are now being shown to him?
Glaucon: True, he now.
(Plato, The Republic, 380BC)
In these works, viewers lose themselves in the emptiness, rather than fullness,
of painted surface: the series’ images are presented not just as paintings of
but actual stand-ins for, mirrored surfaces, while the beholders they ostensibly
mirror are distinctly absent, “selfless” in their identification with the spare
painted surfaces before them. It is mirrors as such, after all, that Lichtenstein’s
declarative titles (Mirror #1, 2, 3, etc.) announce these works to be, and to
which they correspond in both scale and position. Hanging on the wall before
us just as do the mirrors into which we all gaze at the start of each day,
Roy Lichtenstein, Mirror Six Panels #3, 1971Oil and Magna on canvas, 6 panels; 96 x 108 inches
28
Lichtenstein’s canvases are equally paintings and objects (a fact the artist
repeatedly stressed), and thus situate their beholders in a position of explicit
self-regard – and self-dissolution.
(Graham Bader, Hall of Mirrors Lichtenstein and the Face of Painting in the 1960s, 2010)
FIRST MEETINGS
We celebrated each moment
Of our meetings
As a revelation
Alone in all the world
You were lighter and bolder
Then the wing of a bird
Flying down the stair
Two at a Time
Pure digginess, leading me
Thought moist lilac
Beyond the looking glass
(Arsenij Aleksandrovic Tarkovskij, First Meetings, 1962 )
There was a book lying near Alice on the table and while she sat watching
the White King (for she was still a little anxious about him, and had the ink all
ready to throw over him, in case he fainted again), she turned over the leaves,
to find some part that she could read, “—for it’s all in some language I don’t
30
Andy Warhol Shadow, 1978 Acrylic and silkscreen ink on canvas, 14 x 11 inches
know,” she said to herself.
It was like this:
She puzzled over this for some, but at last a bright thought struck her. “Why,
it’s a Looking-glass book, of course! And, if I hold it up to a Glass, the words
will all go the right way again.”
This was the poem that Alice read:
JABBERWOCKY
‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
(Lewis Carroll, Through the Looking-Glass and what Alice Found There, 1871)
32
Roy Lichtenstein, Mirror Four Panels #1, 1971Oil and Magna on canvas, 96 x 72 inches
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the shadow
(T.S. Eliot, The Hollow Men, 1925)
Early successes, Creation's pampered favorites,
mountain-ranges, peaks growing red in the dawn
of all Beginning, – pollen of the flowering godhead,
joints of pure light, corridors, stairways, thrones
space formed from essence, shields made of ecstasy, storms
of emotion whirled into rapture, and suddenly, alone:
mirrors, which scoop up the beauty that has streamed from their face
and gather it back, into themselves, entire.
(Rainer Maria Rilke, The Second Elegy, 1923)
The Shadow: Since I haven't heard your voice in so long, I would like to give
you an opportunity to speak.
The Wanderer: Someone said something—where? and who? It almost seems
as if I myself were speaking, though in an even weaker voice than mine.
35
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas, 76 x 52 inches
The Shadow (after a pause): Are you not happy to have an opportunity
to speak?
The Wanderer: By God and all things, in which I do not believe, my shadow
speaks; I hear it, but I don't believe it.
The Shadow: Let’s accept it and don't continue to think about it—in one hour
it will all be over.
The Wanderer: That’s what I thought, when I saw two and then five camels in
a forest near Pisa.
The Shadow: It’s good, that we are both indulgent in the same way, if our
reason stands still: thus we will not become annoying and press each other in
conversation when something sounds incomprehensible to us. If one does not
know how to answer, then it is already enough to say something—that’s the
reasonable policy under which I agree to converse. With longer discussions,
the wisest one becomes once the fool and three times the dullard.
The Wanderer: Your modesty is not complimentary to your confessor.
The Shadow: Am I to flatter?
The Wanderer: I thought a man’s shadow was his vanity, but his vanity would
never ask: “Am I to flatter?"
The Shadow: Nor would man’s vanity, as far as I know, inquire—as I did twice
already—whether it could speak: it always speaks.
The Wanderer: Only now do I notice how impolite I am, my beloved shadow:
I have not said a word about how pleased I am to see you as well as hear
you. You should know that I love the shadow as much as I cherish the light.
36
Andy Warhol, Shadow, 1978Acrylic and silkscreen ink on canvas, 50 x 42 inches
For facial beauty, clarity of speech, quality and firmness of character, shadow
is as necessary as light. They are not opponents: they are rather affectionate,
holding hands—and if the light disappears, the shadow slips away after it.
The Shadow: And I hate the same thing you hate: the night; I love human beings,
because they are devotees of light and I’m pleased when their eyes shine as
they discern and discover knowledge—untiring knowers and discoverers that
they are. That shadow, which all things cast, if the sunshine of perception falls
upon them—that shadow am I as well.
The Wanderer: I believe I understand you, despite your somewhat shadowy
expressions. But you were right: good friends give each other—here and
there—a cryptic word as a sign of agreement, which should be a mystery to
any third party. And we are good friends. Therefore, let’s dispense with the
preliminaries! A few hundred questions press upon my soul, and the time you
have to answer them is perhaps only brief. Let’s see what, in all haste and
peaceableness, we can agree upon.
The Shadow: But shadows are shier than human beings: you won't tell anyone
how we have spoken together!
The Wanderer: How we have spoken together? Heaven forfend! especially
from long drawn-out literary discussions. If Plato had less desire to “spin" his
readers, they would find more pleasure in Plato. A really amusing discussion—
when written down—is merely a painting with false perspectives: everything is
too long or too short—nevertheless, perhaps you'll allow me to indicate what
we agreed upon?
39
Roy Lichtenstein, Mirror in Six Panels, 1971Oil and Magna on canvas, 120 x 132 inches
The Shadow: I’m happy with that, since everyone will recognize therein only
your opinions—nobody will think of the shadow.
The Wanderer: Perhaps you are wrong, my friend! Up to now one assumed in
my opinions more of shadow than of me.
The Shadow: More shadow than light? Is it possible?
The Wanderer: Dear fool, be serious! My first question requires seriousness.
(Freidrich Neitzche, The Wanderer and his Shadow, 1880)
I got the idea of doing mirrors, and they didn’t look like mirrors and they
didn’t look very interesting, and it just took time to get something that was an
interesting enough abstraction and that people could take for a mirror – you
kind of learn a mirror the same way you learn a thing that is a brush-stroke.
I had trouble with the Brush-strokes too: they looked like slices of bacon or
something, they didn’t really look anything like brush-strokes when I started.
(Roy Lichtenstein, David Sylvester interviews Roy Lichtenstein. New York City, April 1997)
The prince was amazed when he saw eight statues, all made of pure gold. He
looked again and noticed that there was a note from his father which said that
the most important statue was missing, it was the ninth one and he should go
find it. He should look for a certain slave in Cairo, who would tell him what to
do in order to find the most precious and fabulous of all status.
So off he went to Cairo and there he met the slave, who took him to a genie
in a beautiful palace. The genie said he would reveal the secret of the ninth
40
Roy Lichtenstein, Mirror #1, 1969Oil and magna on canvas, 60 x 48 inches
statue, but first the prince would need to bring a certain beautiful and pure
young lady to him. In order to find the right one, the prince was given a mirror
that would only reflect the face of that girl. At last, the genie said that she
should remain untouched. So the prince searched everywhere in the streets
of Cairo for the beautiful and pure lady that the mirror would reflect. When he
finally found her, he immediately married her in order to be able to take her
with him. The lady was absolutely beautiful but the prince remained faithful
to his word and delivered his untouched wife to the genie. The genie then,
ordered the prince to go back home, and the ninth statue would be right in his
father's room.
The prince went back home in tears for leaving his new wife but certain that
he had done the right thing. When he opened the room, he fell on his knees
completely amazed. His wife was there where the ninth statue should be.
A great thunder was heard and the genie appeared.
He said to the prince that his wife was the missing statue and he had earned
the right to finally have her. They lived happily ever after and he ruled the
kingdom with fairness and justice.
(One Thousand and One Nights)
42
Anonymous. Tales from the One Thousand and One Nights. New York: Penguin Classics, 1973. Antonioni, Michelangelo. Screenplays of Michelangelo Antonioni. New York: Penguin, 1971.
Bader, Graham. Hall of Mirrors Lichtenstein and the Face of Painting in the 1960s. Boston: The MIT Press, 2010.
Barrie, J.M. Peter Pan. New York: Aladdin Paperbacks, 2003.
Baker, Elizabeth. “The Glass of Fashion and the Mold of Form.” Art News, April 1971.
Buchaloh, Benjamin H.D. “Anniversary Notes for Andy Warhol.” Andy Warhol Shadows and Other Signs of Life. Paris: Galerie Chantal Crousel, 2008.
Carroll, Lewis. Through the Looking-Glass and what Alice Found There. Somerville: Candlewick Press, 2009.
da Vinci, Leonardo. The Notebooks of Leonardo da Vinci, 1651. Seattle: Pacific Publishing Studio, 2010
Eliot, T.S. “The Hollow Men.” The Complete Poems and Plays. Boston: Houghton Mifflin Harcourt, 1971.
Geldzahler, Henry. "Locating the Mirror in Modernism. Roy Lichtenstein’s Mirror Paintings." Roy Lichtenstein. The Mirror Paintings. New York: Mary Boone Gallery, 1989.
André Gide, “The Treatise of Narcissus.” The André Gide Reader. New York: Knopf, 1971.
Henry, Garrit. Art International, May 1971.
Jung, Carl, "Good and Evil in Analytical Psychology", Journal of Analytical Psychology, vol. 5. London: 1960
Kawabata, Yasunari. Snow Country. United Kingdom: Vintage, 1996.
Lichtenstein, Roy. “David Sylvester interviews Roy Lichtenstein.” Roy Lichtenstein All about Art. Denmark: Louisiana Museum of Modern Art, 2003.
Murasaki, Shikibu. The Tale of Genji. New York: Penguin Classics, 2002.
Neitzche, Freidrich. “The Wanderer and his Shadow.” Basic Writings of Nietzsche. New York: Modern Library, 2000.
Plato. The Republic. Indianapolis: Hackett Pub Co, 1992.
Proust, Marcel. Swann's Way: In Search of Lost Time, Volume 1. New York: Penguin Classics, 2004.
Rilke, Rainer Maria. “The Second Elegy.” The Selected Poetry of Rainer Maria Rilke. New York: Vintage, 1989.
Schnabel, Julian. Andy Warhol Shadow Paintings. New York: Gagosian Gallery, 1989.
Shakespeare, William. “Macbeth.” Complete works of Shakespeare. White Plains: Longman, 2008.
Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. New York: Triberia Books, 2011.
Tarkovsky, Arsenij Aleksendrovic. "First Meetings," Mirror, 1975. Film directed by Andrei Tarkovsky, 90 minutes, distributed by International Film Forum.
Varnedoe, Kirk. Matisse Picasso. New York: The Museum of Modern Art, 2003.
Warhol, Andy. The Andy Warhol Diaries. New York: Random House Value Publishing, 1991.
WORKS CITED
43
Roy Lichtenstein Mirror #1, 1969Oil and Magna on canvas24 x 18 inches
Roy Lichtenstein Mirror #2, 1970Oil and Magna on canvas24 x 18 inches
Roy Lichtenstein Mirror Four Panels #1, 1971Oil and Magna on canvas96 x 72 inches
Roy Lichtenstein Paintings: Mirror, 1984Oil and Magna on canvas70 x 86 inches
Andy Warhol Shadow, 1978Acrylic and silkscreen ink on canvas76 x 52 inches
Andy Warhol Shadow, 1978Acrylic and silkscreen ink on canvas14 x 11 inches
Andy Warhol Diamond Dust Shadow, 1979Acrylic, silkscreen ink, and diamond dust on canvas76 x 50 inches
Andy Warhol Diamond Dust Shadow, 1979Acrylic, silkscreen ink, and diamond dust on canvas78 1/8 x 50 1/8 inches
Andy Warhol Shadow, 1980Acrylic and silkscreen ink on canvas14 x 11 inches
WORKS IN EXHIBITION
44
Photo credits:page 13: Collection of the Andy Warhol Museum, Pittsburghpage 27: Christie's Images/The Bridgeman Art Librarypage 31: Christie's Images/The Bridgeman Art Librarypage 29: Collection of the Museum of Contemporary Art San Diegopage 34: The Andy Warhol Foundation, Inc./Art Resource, NY
Publication © 2011 Leo Castelli
Artworks by Roy Lichtenstein © Estate of Roy Lichtenstein. Artworks by Andy Warhol © 2011 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.
Design by Matthew Polhamus
I would like to thank Jack Cowart, Shelley Lee, Larry Levine, Evan Ryer and
Natasha Sigmund together with everyone at the Roy Lichtenstein Foundation.
I would like to thank Cassandra Lozano for her tireless work.
Thanks to Vincent Fremont and to Neil Printz, the editor of the Andy Warhol
catalogue raisonné, for their helpful insights.
A special thank you to the generous lenders to this exhibition.
As always, it has been a privilege to work with Dorothy Lichtenstein.
BBC